Stephane Symons

What happens when the world around us feels fragmented? How can a person continue to respond positively to their environment when it seems to have lost its internal coherence? These questions lie at the heart of this innovative interpretation of some of the most influential German philosophers of the twentieth century. The key figures in this study are the young Georg Lukács (1885–1971), Ernst Jünger (1895–1998), Ernst Bloch (1885–1977), Theodor Adorno (1903–1969), Max Kommerell (1902–1944), and Siegfried Kracauer (1889–1966). By establishing an intellectual dialogue among these otherwise diverse thinkers, this study identifies a common interest: the question whether an unworldly, fragmented universe can nonetheless elicit a creative response from individuals. Together, these authors offer an alternative to what is considered the dominant trend in twentieth-century German philosophy: the phenomenological emphasis on humans' lived interactions with a shared and unified lifeworld. Special attention is given to six distinct interpretations of Miguel de Cervantes's novel Don Quixote and the unworldly actions of its main character. Unworldliness in Twentieth Century German Thought will appeal to researchers and advanced students interested in twentieth-century continental philosophy, German intellectual history, critical theory, and literature and philosophy.

What happens when the world around us feels fragmented? How can a person continue to respond positively to their environment when it seems to have lost its internal coherence? These questions lie at the heart of this innovative interpretation of some of the most influential German philosophers of the twentieth century. The key figures in this study are the young Georg Lukács (1885–1971), Ernst Jünger (1895–1998), Ernst Bloch (1885–1977), Theodor Adorno (1903–1969), Max Kommerell (1902–1944), and Siegfried Kracauer (1889–1966).By establishing an intellectual dialogue among these otherwise diverse thinkers, this study identifies a common interest: the question whether an unworldly, fragmented universe can nonetheless elicit a creative response from individuals. Together, these authors offer an alternative to what is considered the dominant trend in twentieth-century German philosophy: the phenomenological emphasis on humans' lived interactions with a shared and unified lifeworld. Special attention is given to six distinct interpretations of Miguel de Cervantes's novel Don Quixote and the unworldly actions of its main character.Unworldliness in Twentieth Century German Thought will appeal to researchers and advanced students interested in twentieth-century continental philosophy, German intellectual history, critical theory, and literature and philosophy.

Philosophical thinking allows itself to be nourished by seemingly non-committal exercises of thought but at the same time seeks forms of irrefutable knowledge. Because of this focus on both the subjective and the universal, philosophy also falls for the lure of the “what-if?” question. What if two legendary artists, writers or philosophers, who did not know each other, did enter into a conversation? In this book, Stéphane Symons outlines an (im)possible conversation between Swiss psychiatrist and philosopher Ludwig Binswanger (1881-1966) and French educator, philosopher, poet and filmmaker Fernand Deligny (1913-1996). Although the two never met, this imaginary conversation can offer insight into both authors' thinking and the human condition. According to Binswanger, self-awareness and social consciousness are the most important and characteristic features of human beings. In contrast, from his contacts with children and adolescents with autism, Deligny emphasizes our ability to interact with the material environment, especially with seemingly insignificant things and nature. Bringing the two thinkers into conversation, Symons sheds new light on what it is to be truly human. In the process, leading roles are played by one of Binswanger's patients, Ellen West, and a young boy with autism, Janmari.

For over fifty years the concept of memory has played a crucial role in a large number of academic and societal debates. The Work of Forgetting: Or, How Can We Make the Future Possible? draws attention to the limits of the academic field of memory studies. It argues that the faculty of memory offers an inadequate response to the challenges of the present. The book sets up a dialogue between the philosophies of forgetting that underlie the writings of Friedrich Nietzsche, Walter Benjamin and Gilles Deleuze, and the philosophies of memory that inform the work of Sigmund Freud, Martin Heidegger and Hannah Arendt. It builds on the idea that history is inseparable from a type of transience that cannot be counter-acted by the preserving work of memory and develops a new understanding of the phenomenon of forgetting in which the passage of time is asserted in thought and thus made productive.

For over fifty years the concept of memory has played a crucial role in a large number of academic and societal debates. The Work of Forgetting: Or, How Can We Make the Future Possible? draws attention to the limits of the academic field of memory studies. It argues that the faculty of memory offers an inadequate response to the challenges of the present. The book sets up a dialogue between the philosophies of forgetting that underlie the writings of Friedrich Nietzsche, Walter Benjamin and Gilles Deleuze, and the philosophies of memory that inform the work of Sigmund Freud, Martin Heidegger and Hannah Arendt. It builds on the idea that history is inseparable from a type of transience that cannot be counter-acted by the preserving work of memory and develops a new understanding of the phenomenon of forgetting in which the passage of time is asserted in thought and thus made productive.

More Than Life: Georg Simmel and Walter Benjamin on Art is the first book to trace the philosophical relation between Georg Simmel and his one-time student Walter Benjamin, two of the most influential German thinkers of the twentieth century.Reading Simmel’s work, particularly his essays on Michelangelo, Rembrandt, and Rodin, alongside Benjamin’s concept of Unscheinbarkeit (inconspicuousness) and his writings on Charlie Chaplin, More Than Life demonstrates that both Simmel and Benjamin conceive of art as the creation of something entirely new rather than as a mimetic reproduction of a given. The two thinkers diverge in that Simmel emphasizes the presence of a continuous movement of life, whereas Benjamin highlights the priority of discontinuous, interruptive moments.With the aim of further elucidating Simmel and Benjamin’s ideas on art, Stéphane Symons presents a number of in-depth analyses of specific artworks that were not discussed by these authors. Through an insightful examination of both the conceptual affinities and the philosophical differences between Simmel and Benjamin , Symons reconstructs a crucial episode in twentieth-century debates on art and aesthetics.